In his early days, was a fiery improviser who rarely held back his emotional intent to play music that was less interested in formal structure. While not to the level of , , or , you could hear he was striving for that type of expressionism. Accompanying the young Argentine tenor saxophonist is a unique collection of musicians including the legendary cellist , bassist , and drummer . While the string players swim around the rhythms of dives right in with no fear of the outcome, allowing the others to stretch into harmonic and sonic arenas of their own choosing. This democratic approach enhances the music without need for time signatures, although a sense of free-style bop does work its way into the pieces. , in his pre- days, is startlingly fresh, setting the pace for those fellow bassists like , and to follow in the '70s. 's famed work with only scratched the surface of what he accomplished in this group, and what would forge as a disciple in the next decade. is on fire for the most part, but tends to snuff out the flames; then he roars back to life for most of these two extended improvisations. The difference in these tracks is both stark and subtle, as and start low-key with 's bowed cello, then roar free and spiritual a la , go off in free-bop style with intensified high-pitched wails, and offer up solos from the string players. This in-and-out concept is further advanced during in that 's squawking tones are matched in time by the wafting cello of 's insistent bass, and the roiling drumming of . This clearly is visceral, forceful, and powerful creative music. A no-holds-barred drum solo and the uncomplicated blowing session mindset of the performers keep things ever interesting, whether a bit calmed or angered up. As 's work with , his acclaimed Latin American albums for , and his commercial work bear stark contrast, this unique recording is the one that ostensibly started it all, and must be considered one of his prime -- if not primal -- early works. ~ Michael G. Nastos